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Headphoneus SupremusMusic And Measurements
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project86
Headphoneus Supremus
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New Project 86 (the band) with excellent video.
I posted this on the other thread, not realizing this one has about 8,000 more pages... oops.
Passenger11
Headphoneus Supremus
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Taking a late morning walk through the polish countryside with this in my ears and that in my eyes
Johnny Cash - Don’t Take Your Guns To Town
Then There Were Two - Don’t Fade On Me
Ricky Nelson - Fools Rush In
Robert Johnson - 32-20 blues
Guy Davis - Ain’t No Bluesman
Mississippi John Hurt - Avalon Blues
Big Jack Johnson and Kim Wilson with Pinetop Perkins - The Memphis Barbecue Sessions
Mississippi Fred McDowell - Mama Don’t Allow
Leon Redbone - Wanna Go Back Again Blues
Then There Were Two - Don’t Fade On Me
Ricky Nelson - Fools Rush In
Robert Johnson - 32-20 blues
Guy Davis - Ain’t No Bluesman
Mississippi John Hurt - Avalon Blues
Big Jack Johnson and Kim Wilson with Pinetop Perkins - The Memphis Barbecue Sessions
Mississippi Fred McDowell - Mama Don’t Allow
Leon Redbone - Wanna Go Back Again Blues
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finbad
500+ Head-Fier
Composed between 1742 and 1744, the Württemberg Sonatas, named after their dedicatee, provide a link between late Baroque and Empfindsamkeit (in German: sensitivity, feeling). This artistic movement precedes the so-called classical period and is characterised for prioritising contrasting moods in its tempos, melodies, and timbral variations. Significantly influenced by the legacy of Bach Senior, for whom Carl Philipp Emmanuel had boundless admiration, these sonatas showcase an elegant inflection in the work of C.P.E Bach felt due to his desire to bring together the emotional expressiveness and mathematical rigour of counterpoint writing. This duality is particularly noticeable between the different movements, as evidenced by Sonata No. 1 in A minor H.30, and the first two movements, Moderato and Andante, which are ample and fluid. These succeed an Allegra assai with a much squarer musical meter.
ECM gifts us an invaluable sonata in his previously unreleased version, recorded by the great Keith Jarrett at Studio Cavelight (New Jersey) in May 1994. Knowing that the American pianist was forced into early retirement by two strokes in 2018, any new release leaves us with a somewhat heartbreaking bittersweet taste. Just like this album, where elegiac and triumphant styles come together as one. Far from bounding and elastic sonorities that are the inimitable trademark of the Köln Concert father, this production, with its spotless sound recording, offers listeners all the joys of a piano with incredible musical roundness. Jarrett's touch is striking; with his subtle understanding of harmonious interplay, his composition really touches the heart. We already knew about Jarrett's biting, unpredictable, and rebellious phrasing. This record proves to be just as brilliant in sobriety and economy and is stunningly beautiful. © Pierre Lamy/Qobuz
The Koln Concert - Recorded on January 24, 1975 in the Cologne Opera House.
The world phenomenon had the most unfavourable conditions that evening. The American pianist was exhausted from a long car journey, had back pain and found another cheap grand piano on stage instead of the Bösendorfer he had ordered. "I think Keith played so well precisely because of this mediocre piano," said producer Manfred Eicher later. "Because he couldn't fall in love with the sound of this instrument, he adjusted his playing accordingly in order to make the best out of it".
Jarrett was 30 years old at the time and had already had a successful career with 15 records and two formative experiences in the bands of Charles Lloyd and especially Miles Davis. By 1975 he had already developed a very personal style of expression. Although Bill Evans' influence is unmistakable, his improvisations were unique, as this Cologne Concert proves. Lyrical and meditative elements are interwoven. Jarrett emphasizes the permeability of the genres by nourishing his jazz (is it jazz at all?) with elements from classical music, gospel, folk or certain Latin American musical styles. Notes gush out of his piano like a torrent and sing an ode to improvisation. In 1992, he told Der Spiegel that over time the Köln Concert had become a kind of film music. "We must learn to forget music," he added. "Otherwise we will become addicted to the past."
ELP
ECM gifts us an invaluable sonata in his previously unreleased version, recorded by the great Keith Jarrett at Studio Cavelight (New Jersey) in May 1994. Knowing that the American pianist was forced into early retirement by two strokes in 2018, any new release leaves us with a somewhat heartbreaking bittersweet taste. Just like this album, where elegiac and triumphant styles come together as one. Far from bounding and elastic sonorities that are the inimitable trademark of the Köln Concert father, this production, with its spotless sound recording, offers listeners all the joys of a piano with incredible musical roundness. Jarrett's touch is striking; with his subtle understanding of harmonious interplay, his composition really touches the heart. We already knew about Jarrett's biting, unpredictable, and rebellious phrasing. This record proves to be just as brilliant in sobriety and economy and is stunningly beautiful. © Pierre Lamy/Qobuz
The Koln Concert - Recorded on January 24, 1975 in the Cologne Opera House.
The world phenomenon had the most unfavourable conditions that evening. The American pianist was exhausted from a long car journey, had back pain and found another cheap grand piano on stage instead of the Bösendorfer he had ordered. "I think Keith played so well precisely because of this mediocre piano," said producer Manfred Eicher later. "Because he couldn't fall in love with the sound of this instrument, he adjusted his playing accordingly in order to make the best out of it".
Jarrett was 30 years old at the time and had already had a successful career with 15 records and two formative experiences in the bands of Charles Lloyd and especially Miles Davis. By 1975 he had already developed a very personal style of expression. Although Bill Evans' influence is unmistakable, his improvisations were unique, as this Cologne Concert proves. Lyrical and meditative elements are interwoven. Jarrett emphasizes the permeability of the genres by nourishing his jazz (is it jazz at all?) with elements from classical music, gospel, folk or certain Latin American musical styles. Notes gush out of his piano like a torrent and sing an ode to improvisation. In 1992, he told Der Spiegel that over time the Köln Concert had become a kind of film music. "We must learn to forget music," he added. "Otherwise we will become addicted to the past."
ELP
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Magneplanarlover
New Head-Fier
Pink Floyd CD Dark Side of the Moon live 1973. First rate recording it is.
MisterMudd
1000+ Head-Fier
What a GREAT, hard-rocking way to begin my week!
Especially proud of my boys from Texas (Palestine). Must be something in that East Texas water.
69 and still rockin'. HARD.
Stan
Especially proud of my boys from Texas (Palestine). Must be something in that East Texas water.
69 and still rockin'. HARD.
Stan
DontMezeTheZohan
New Head-Fier
New Vandenberg dropped this week.
Mink
Headphoneus Supremus
This recording lacks a bit of drama and dynamics. Alan Curtis is always a bit too reserved, a tad too well-behaved and controlled. But unlike some of his other recordings his phrasing is more fluid, less 'angular'and the sound of the recording is not that dry this time.
To my ears this is the best recording of this work. There is a good recording by Nicholas Kraemer with the excellent Sophie Daneman as soprano. A late 90s recording, but with an early 90s sound: a rather thin and distant sound with very little bass and body. And the playing is way more timid overall. The more recent recording by Harry Bicket and the English Concert on Linn is objectively better that the Curtis; more dynamic and with better soloists. Still I prefer Curtis. It must have something to do with the whole that is bigger than the sum of the parts? I don't know. The recorded sound, the timbre of the orchestra, the ambiance, everything added? I don't know.
To my ears this is the best recording of this work. There is a good recording by Nicholas Kraemer with the excellent Sophie Daneman as soprano. A late 90s recording, but with an early 90s sound: a rather thin and distant sound with very little bass and body. And the playing is way more timid overall. The more recent recording by Harry Bicket and the English Concert on Linn is objectively better that the Curtis; more dynamic and with better soloists. Still I prefer Curtis. It must have something to do with the whole that is bigger than the sum of the parts? I don't know. The recorded sound, the timbre of the orchestra, the ambiance, everything added? I don't know.
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